Decorated initials are one of the most distinctive features of medieval manuscript illumination. Enlarging the letters at the beginning of texts was a practical way to help readers find their place in a manuscript. But it also provided an opportunity for scribes and artists to beautify the page and explore the relationship between text and image. In this blogpost weâre pondering the development and meaning of decorated initials in some of the manuscripts digitised as part of The Polonsky Foundation England and France Project.
In the 7-9th centuries, initial letters in English manuscripts were decorated like prestige metalwork. This letter âbâ from the opening of a 9th-century manuscript of Bedeâs Ecclesiastical History looks similar to the silver disc brooches that were popular among elites of the period.
They share the same round shape, with an outer border divided into panels of decoration, and a central field divided into a cross-shape. Within this rigid geometry, animal and plant forms twist and intertwine, set against a dark background. Using the forms of metalwork connects the decorated letters to a visual language of prestige usually associated with kings and queens. It signifies that the words are precious and powerful.
In the case of the Tiberius Bede, the design also echoes some of the ideas that are expressed in the text. The Ecclesiastical History begins, âBritain, an island of the ocean, which once was called Albion, lies to the north-west, being opposite Germany, France and Spain, which form the greater part of Europe.' In the context of this geographic description, the circular bowl of the letter âbâ looks similar to a medieval map, divided into the four cardinal points.
In the 10th century, decorated initials moved away from the appearance of metalwork. In manuscripts such as the Bosworth Psalter, the tangled animals and vegetation took over. Whereas in the earlier image the plants and animals were confined to fixed panels within the body of the letter, here they are the letter. The letter âQâ is entirely made up of looping strands that sprout indiscriminately into bunches of leaves and beast heads, which spew out more foliage from their gaping mouths. The endless twisting, transforming and re-generating of forms makes the letter seem alive. This might suggest the life-giving properties of the Psalms, which were central to medieval worship, or it might comment more broadly on the organic qualities of writing in which letters create language and generate ideas.
Historiated initials are letters that contain a picture inside. They first appeared in English manuscripts of the 8th century and became an important feature of illuminated manuscripts throughout the Middle Ages. Here in the Eadui Psalter, the initial âDâ contains an image of the young David defeating the giant Goliath, aided by God who is represented by a hand reaching down from the sky in blessing. The image encourages the reader to connect the opening words of the Psalm, âHear, O Lord, my prayer: and let my cry come to theeâ, to the account of David and Goliathâs combat in 1 Samuel 17, and to consider the ways in which the texts of the Bible interrelate.
In historiated initials, the letter becomes a frame through which readers can glimpse an insight into the text. But the shape of the letter might also add to the effect of the image. Here the upper bowl of the âDâ appears to trace the arc of Davidâs sword swing, vividly creating a sense of the force that David brings smashing down on Goliathâs neck.
It's clear that decorated initials were much more than decorative page markers. If youâre curious to learn more, check out our article on English manuscript illumination on The Polonsky Foundation England and France Project website.
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